Five Questions, Four Artists
by Laura GIACALONE
Italian Journal interviews emerging talents.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Laura Giacalone /
by Laura GIACALONE
Italian Journal interviews emerging talents.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Genny Di Bert /
by Genny DI BERT
Quella che osserviamo è la fotografa di una scena, di un momento d’espressione artistica in cui l’ambiente e l’uomo interagiscono, che viene, durante la realizzazione, con uno “scatto” resa opera d’arte apparentemente bidimensionale. L’immagine riprodotta valorizza l’irripetibilità dell’azione ed ogni scena diventa opera d’arte unica. La rappresentazione, come la realtà osservata e dipinta, viene studiata, immaginata, riprodotta attraverso l’occhio fotografico attento a cogliere l’istante creativo.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Laura Giacalone /
by Laura GIACALONE
One of the world’s most important forums for the dissemination and illumination of current developments in international art, La Biennale di Venezia can boast a well-reputed personality at the helm. Appointed Director of the Visual Arts sector for the 54th International Art Exhibition (2011), Bice Curiger (pictured) is an art historian, critic and curator of international exhibitions. Her curatorial activity at Kunsthaus Zurich parallels her important work in the publishing sector. In 1984, she co-founded the prestigious art magazine Parkett, of which she is editor-in-chief. She has been publishing director of London Tate Gallery’s magazine Tate etc since 2004, and is also the author of various publications and catalogues of contemporary art. Her insight into contemporary art surely adds value to an exhibition that, once again, is bound to consolidate its success.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Veronica Maria White /
by Veronica Maria WHITE
In 1948, Peggy Guggenheim exhibited her collection of avant garde paintings and sculptures at the Venice Biennale. Among the 73 artists featured were Picasso, Ernst, Kandinsky, Pollock and Rothko. The show was revolutionary in its presentation of Cubist, Surrealist and Abstract works to the general European public, as well as to contemporary Italian artists. Soon after the show, Peggy settled in Palazzo Venier dei Leoni, where from 1951 onward her collection opened its doors to visitors. The heiress’ choice of Venice as a home and showcase for her works is significant, for she had already experienced the contemporary art scene in Paris, London and New York. Located in a Renaissance palazzo on the Grand Canal, the Peggy Guggenheim collection in fact highlights Venice’s dual identity as a historic maritime city and a protagonist in artistic innovation.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Walter Santagata /
by Walter SANTAGATA
As in all worlds of art and culture, even in contemporary art there are two conflicting policies at work: conservation and production of new works of art. Whereas conservation means to safeguard the historical heritage of a country, its most immediate expression being the “museum-ization ” of art, i.e. the entrusting of art to the sacredness of a museum, production means to create new works of art. Conservation is a backward- looking policy dealing with the preservation of the past; production is instead a forward-looking policy interested in the future and in the development of new works of art. Conservation relies on legal and institutional instruments, such as regulations and laws, whereas production is a policy consisting of many different steps: selection of artists, creation and production of works of art, distribution, modes of consumption.
Italian Journal / Contemporary, Volume 20. Number VI. 2011 / Laura Giacalone /
by Laura GIACALONE
Besides their worldwide renown for setting the trends of cutting-edge styles, Italian fashion designers have now established themselves as the modern patrons of contemporary art, being the most active supporters of avant-garde art projects and drawing on works of art for inspiration. In the last few years, many initiatives launched by top luxury brands of fashion have contributed to introduce a new generation of Italian artists to the international scene.
Italian Journal / Columns, Contemporary, Literature, Volume 20. Number VI. 2011 / Laura Giacalone /
by Laura GIACALONE
Reading Twice Born is like taking a journey that, once started, has no turning back. It is something to be experienced, more than just read. It slowly sinks into your heart and, page by page, leaves you completely helpless, defenceless, as after a storm of mixed emotions. It is like being revealed the unspoken truth of human condition, with its eternal carousel of joy and sorrow, and turning it into a personal memory.
Italian Journal / Columns, Contemporary, Face File, Volume 20. Number V. 2011 / Editorial Interns /
by Amanda ROMERO
“I love actresses that change a lot, that search always for something new, and try not to stay caught up in just one kind of character,” said Violante Placido in an interview with British radio The Guardian . The eye-catching Roman-born actress, singer and songwriter has certainly lived up to her own ideal.
Italian Journal / Columns, Photography, Risorgimento Reflected, Volume 20. Number V. 2011 / Mauro Benedetti /
by Mauro BENEDETTI Astride the verdant slopes near where Saint Francis made his sanctuary, a medieval monastery is transformed for travelers seeking respite, healing. . . and a locally grown, homemade meal.
Italian Journal / Publisher's Notebook, Risorgimento Reflected, Volume 20. Number V. 2011 / S. Acunto /
From the Chairman
The Italian Academy Foundation has enjoyed an upbeat year in its activities and collaborations, fulfilling our 64-year-old mission of cultural diplomacy between Italy and the United States.